Academic literature on the topic 'MOVEMENT – Drama – Study and teaching'
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Journal articles on the topic "MOVEMENT – Drama – Study and teaching"
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Orengwu Okatahi, Angela, Hosea Abalaka Apeh, and Omolara Ayoka Iyiegbuniwe. "Effect of Brain-Based Learning Strategies on Secondary School Students’ Academic Achievement in Federal Capital Territory, Abuja, Nigeria." EAST AFRICAN JOURNAL OF EDUCATION AND SOCIAL SCIENCES 1, no. 3 (December 27, 2020): 145–56. http://dx.doi.org/10.46606/eajess2020v01i03.0053.
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The study was on the effect Brain-Based Learning Strategies on the academic achievement of secondary school students in Abuja, Nigeria. The pretest post-test Quasi Experimental Research design was used with a sample of 142 Senior Secondary School Students drawn from two schools. Two intact classes were randomly selected from each school. Data for the study was sourced using the Economics Achievement Test (EAT). The hypothesis was tested at a significant level of 0.05 using ANCOVA. The findings revealed a significant difference in the academic achievement with mean difference of 15.82 in favor of the Experimental Group. The study concluded that Brain-based learning strategies have significant effect on students’ academic achievement as the result indicated that the effect of the treatment, (brain-based learning strategy) was significantly positive on students’ academic achievement in Economics. The study recommended that teachers should adopt the Brain-based learning strategies in teaching Economics by providing a relaxed environment with low threat, good nutrition, physical exercise, movement, drama, drinking of water before and during lessons.
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Çıldır, Sema. "Opinions of teacher candidates upon the use of effective communication skills when teaching sciences." SHS Web of Conferences 66 (2019): 01038. http://dx.doi.org/10.1051/shsconf/20196601038.
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While teaching sciences which takes up a huge place in today's technological world, effective communication among teachers and students is especially required in order to increase the enthusiasm of students about sciences. The study is aimed to support teacher candidates in acquiring effective interaction abilities, which are some of the 21st century foreground skills, and foster them to make use of these abilities in the process of teaching sciences. The research has been conducted in accordance with qualitative research techniques which include observation and semi- structured interviewing techniques. 17 teacher candidates have taken part in the research as volunteers. The result of the observations made show that these teacher candidates have used oral communication in the activities mostly. The subject of hand and facial movements (mimics) and drama technique in teaching have drawn attention of teacher candidates heavily. According to the results of interviews made, it can be deducted that it is an important improvement for them to learn effective listening is also a medium for communication. At the end of the research, the teacher candidates have been observed to have found a chance to get to know themselves in the use of communication skills; therefore, it has been detected these people have been using some of the communication channels without realizing it, whether they are positive or negative, in their relations with friends, family members, school life and so on. The realization of teacher candidates upon the importance of communication skills in education and turning their ideas into skills through their knowledge in the issue reveal the fact that this study has fulfilled its aims.
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Sudrajat, Unggul. "TRANSFORMASI PENDIDIKAN SENI DI TAMAN SISWA." Jurnal Ilmiah Mimbar Demokrasi 18, no. 1 (October 1, 2018): 46–58. http://dx.doi.org/10.21009/jimd.v18i1.9252.
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The art paradigm that uses the Kancil story as a method of introducing moral values certainly has its own uniqueness and purpose. These two different views of the KPK and Tamansiswa are very contradictive, the same source gets the opposite interpretation. Therefore, the story of Kancil is interesting to study regarding its feasibility as one of the teaching materials in school. This paper will reveal the view of education in Taman Siswa about the Kancil story, specifically about Sendratari composed by Ki Hadi Sukatno which was studied through qualitative research with a discussion of descriptive analysis approach. The results of the study revealed the art transformation in Taman Siswa by explaining how educational facilities must be dynamic along with the development of the child's nature. Through dance, music, and drama movements collected in Sendratari “Mouse deer stealing Cucumbers", Ki Hadi Sukatno was able to implement the concept of the Among System created by Ki Hadjar Dewantara. The use of Kancil stories as a means of education must be sorted out which matches the basic or secondary level.Therefore, it is necessary to have a method that matches the character so that it finds the moral value implied through the fabric of the story.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Seniarika, Seniarika. "Investigating Drama in Teaching Practice." Edukasi Lingua Sastra 15, no. 2 (January 11, 2018): 92–100. http://dx.doi.org/10.47637/elsa.v15i2.71.
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Drama is widely used in English class inasmuch as drama is considered as a way to learn English effectively. A lot of researcher conducted studies on drama either aimed to find out the benefits obtained through drama or aimed to find out the difficulties that might be found by the learners in drama. This article reviews five articles in relation with drama. The researcher in those studies investigated drama from different perspective. The result found in this study is expected to be consideration in implementing drama in teaching practice.
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Wilkinson, Nicola, Siva Srikumar, Karen Shaw, and Martin Orrell. "Drama and movement therapy in dementia: a pilot study." Arts in Psychotherapy 25, no. 3 (August 1998): 195–201. http://dx.doi.org/10.1016/s0197-4556(97)00102-0.
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Yoon, Ji-Young. "The Effect of Music Drama Play Performing Program on movement teaching anxiety and movement teaching efficacy belief for Pre-Service Early-Childhood Teachers." Korean Association For Learner-Centered Curriculum And Instruction 19, no. 4 (February 28, 2019): 145–61. http://dx.doi.org/10.22251/jlcci.2019.19.4.145.
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Han, Dabin. "A Study of Teaching Picture Books through Story Drama." Journal of Korea Association for Drama/Theatre and Education 11, no. 1 (March 31, 2019): 69–91. http://dx.doi.org/10.31342/jkadte.2019.11.1.04.
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Hietz, Kristina. "(No) drama with grammar." Scenario: A Journal for Performative Teaching, Learning, Research XV, no. 1 (August 15, 2021): 128–35. http://dx.doi.org/10.33178/scenario.15.1.9.
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This Window-of-Practice contribution is based on my Master’s thesis written in the Department of Foreign Language Education in Innsbruck, Austria. It discusses a performative approach to teaching grammar in EfL contexts. “Performative” is used as an umbrella term to describe different forms of language teaching that derive from the performing arts (Schewe, 2013). The motivation behind this topic lies in my enthusiasm for drama and the conviction that a drama-based approach applied to language learning is efficient, motivating and sustainable. The contribution provides insights into the methodology and procedure of a case study that investigates effects of drama-based teaching. The case study was performed in 2017 at an upper secondary school in Austria, where English learners were taught English conditional clauses via a drama-based approach. The study, including a control group, a mixed-method, pre-and post-test design, yields quantitative and qualitative data on effects of drama-based teaching. Despite the lack of significant differences in test results between treatment and control groups, the study provides evidence that a performative approach applied to grammar teaching is successful and related to fun, increased motivation and positive group dynamics.
Dissertations / Theses on the topic "MOVEMENT – Drama – Study and teaching"
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Lang, Linda L. "Teaching with drama, a collaborative study in innovation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34870.pdf.
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Chizik, Sheila Marie. "Drama in education : a classification of teacher questions as they contribute to the drama process." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25365.
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The purpose of this study has been to examine and define teacher questions and questioning techniques according to their function in the drama process. In order to develop a practical structure for describing these strategies, the design of the study has involved the following procedure: collecting data from the field on questions employed by two leading drama educators; analysing and describing recurrent types of questioning found in the data; organizing this information into a classification system that illustrates the skilful and complex ways in which teacher questions contribute to the drama experience. In the process of developing the classification system, the following general observations were made:
1. Questions were used extensively to promote the drama process.
2. The teacher employed a wide range and diversity of questions.
3. Definite patterns emerged in teacher questioning techniques.
4. Specific kinds of learning were emphasized by teachers within the drama.
Conclusions; It is evident that the use of drama in education requires a complex and unique set of teaching strategies. If such strategies are to be accessible to educators, they must first be clearly identified and defined. Since the investigation into questioning techniques was intended as a preliminary step in this process, the focus was essentially directed towards identifying and classifying the components of methodology. However, in addition to the specific findings, there were a number of broad conclusions and implications which emerged as a result of the research:
1. Research carried out directly in the field has proven to be invaluable for the analysis of the intricate patterns of interaction inherent to the drama process. Without the richness of this perspective, the subtleties of the methods employed by the teacher could not have been adequately described.
2. The extensiveness of questioning strategies reveals that the teacher is an integral part of the social, creative, and educative structure of the drama experience by setting up potential areas of learning and shaping the ideas of the participants into dramatic form. Since teacher questioning plays such a vital role in the process it should be a key element in teacher training and professional development. Teachers need to become aware of the extensive range and diversity of questioning techniques as well as of specific terms with which to discuss the practice critically.
The classification system provides a starting point for dealing with questioning in concrete terms. The arrangement of the system is not meant to imply, however, that there is a hierarchy for questioning, or that the drama process is based on a. linear or sequential theory of learning. Any one element of the taxonomy is as viable as another since questions are asked in response to the needs of the immediate situation. Questioning practice cannot be reduced to a means-end checklist - it must be approached holistically as a skill, a process, an attitude, an art. Only in this way will the teacher's use of questions effectively serve the needs of drama in education.Education, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
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Wachsman, Frances 1942. "Music, movement and drama in the center of the elementary curriculum." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277227.
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The purpose of this project is to develop a research-founded semiotically-based, holistic philosophy for utilizing quality, child-tested music, movement and drama resources in an integrated learning format and to provide workable activities within an accessible, understandable structure for use by the teacher in kindergarten through third grade classroom situations. Since children are "meaning makers," it is logical to create an approach for classroom teachers to use which builds on what children need most to help them make learning connections: an integrated format which helps children understand how learning fits together or makes sense. This project organizes music, movement and drama activities thematically in content areas which are ordered from simple to complex to accommodate the age range to which the project is directed.
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Van, Zyl Yolande. "Hoekom drama? : ’n ondersoek na enkele persepsies van drama en drama-opleiding aan die Universiteit van Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2290.
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Thesis (MDram (Drama))--Stellenbosch University, 2008.The general aim of this study was to establish why students at Stellenbosch University embarked on a course in Drama. The initial hypothesis was that students were attracted to the expressive, therapeutic features inherent to this field of study. A questionnaire was designed to test this hypothesis. However, in the early stages of the project, feedback from the Drama students of 2005 and, at a later stage, that of the first-year Drama students of 2006 and 2007 proved the hypothesis to be incorrect. The specific questionnaire that was handed out to students also included questions that would enhance the interest value of the survey, such as: “What question was the most frequently asked by your friends and relatives enquiring about your Drama studies?” Responses to the latter question, amongst others, triggered two other pilot studies. The aforementioned studies were conducted among 110 students from different disciplines on the US (University of Stellenbosch) campus, as well as among 65 respondents in the Stellenbosch area, and focused on perceptions around Drama students and the drama profession as such. The final study contained the following three problem statements: 1. Are there any stereotypical prejudices towards Drama students? If so, who and what is the Drama student in terms of personality type and character traits? 2. Are there any stereotypical prejudices towards this field of study and the professional field? If so, what do the field of study and the professional field constitute within the South African context? 3. Why Drama? or rather, what is the purpose of Drama, and what motivates students at Stellenbosch University (SU) to choose this particular profession, given the current perceptions? The supporting theories and the data, though not wholly significant, indicated that a marked degree of stereotyping existed with regard to Drama students and the profession. These perceptions about the students and the related professions have also been validated by the limited number of existing studies that could be found on this topic. Moreover, feedback from 253 Drama students revealed that they had decided to study Drama for a variety of reasons, and not only because a successful career in this field will inevitably lead to stardom and fame, which is contrary to what people generally tend to believe.
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Bryson, Lucy Lynn. "Drama + math = dramath." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4861.
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Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities
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Jordaan, Phoebe-Marie. "Finding creativity : integrating drama teaching techniques in creative writing lessons." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97125.
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Thesis (MEd)--Stellenbosch University 2015.ENGLISH ABSTRACT: Creative writing forms an essential part of the English language learning area in any curriculum. The expression of knowledge and ideas through writing is an integral part of the communication process; however, some learners struggle to express their thoughts and ideas in creative writing tasks. As such, this thesis strives to discover how creativity can be stimulated in order to assist learners in their written expression. Drama techniques, stimulation activities and other multi-literacy resources have been employed to try and understand the discovering and ‘finding creativity’ process through creative writing, journaling and performance in the drama classroom. The research utilises the action research methodology, employing participant observations, semi-structured interviews and reflective classroom discussions. It also uses the creative writing journals of the learners in an attempt to investigate how drama techniques can stimulate creativity for the creative writing process. The units of analysis in this case study are 13 grade 9 learners at a private school in the Western Cape, South Africa. The analysis of the data collected reveals that by utilising drama techniques, along with other stimuli and resources, in the classroom the process of creative writing become less troublesome and more enjoyable for both learners and teacher-researcher alike. Another finding is that the open, free and flexible atmosphere, which is created in the classroom assists learners not only with the development of their written expression, but also with verbal expression. The learners learn how to express their creative thoughts and ideas, about the world they live in, in a respectful, sensitive and empathetic manner. The creative writing programs have proved to be more than just tools to improve writing competence, but also have equipped learners with the tools to become creative, thinking citizens.
AFRIKAANSE OPSOMMING: Kreatiewe skryfwerk vorm ‘n essensiële deel van die Engelse leerarea in enige kurrikulum. Die uitdrukking van kennis en idees deur die skryfproses vorm ‘n integrale deel van die kommunikasieproses, maar sommige leerders vind dit uitdagend om aan hulle gedagtes en idees in kreatiewe skryftake uiting te gee. Met hierdie tesis beoog ek om dus om te ontdek hoe kreatiwiteit gestimuleer kan word om leerders met hulle geskrewe uitdrukkings vermoë te ondersteun. Dramategnieke, stimulerende aktiwiteite en ander meerdoelige geletterdheidshulpbronne is gebruik om te probeer verstaan hoe die ontdekking van die kreatiwiteitsproses deur kreatiewe skryf, joernaalinskrywings en opvoerings in die dramaklas, kan plaasvind. Hierdie studie het die aksienavorsingsmetodologie gevolg, waar deelnemende waarneming, semi-gestruktureerde onderhoude en reflektiewe klaskamergesprekke, asook die kreatiewe skryfjoernale van die leerders, gebruik is om te ondersoek in hoe ‘n mate dramategnieke kreatiwiteit vir die kreatiewe skryfproses kan stimuleer. Die studie is op 13 graad 9-leerders wat by ‘n privaatskool in die Wes-Kaap, onderrig word. Die analise van die versamelde data openbaar dat, wanneer dramategnieke in samewerking met ander stimulus en hulpbronne gebruik word, dit die kreatiewe skryfproses vergemaklik en dit meer genotvol vir beide die leerders en die onderwyser-navorser word. Nog ‘n bevinding toon dat die oop, vry en inskiklike atmosfeer, wat in die klaskamer geskep word, nie net die leerders in die ontwikkeling van hul geskrewe uitdrukking bygestaan het nie, maar ook met hul verbale uitdrukkingsvermoë. Die leerders het geleer hoe om hul kreatiewe gedagtes en idees oor hul individuele wêrelde in ‘n respekvolle, sensitiewe en empatiese manier uit te druk. Die kreatiewe skryfprogram blyk veel meer as bloot ‘n hulpbron te wees om die skryfvermoëns van die leerders te verbeter. Dit het hulle ook toegerus om kreatiewe, denkende landburgers te word.
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Leung, Tze-tuen Stella, and 梁子端. "Promoting learner autonomy through a drama project: an ethnographic study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29664548.
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O'Mara, Joanne, and jomara@deakin edu au. "Unravelling the Mystery: A Study of Reflection-in-Action in Process Drama Teaching." Griffith University. School of Vocational, Technology and Arts Education, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030228.103642.
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Unravelling the Mystery is a qualitative case study that examines the teacher researcher's reflection-in-action as she teaches using process drama. The teacher-researcher taught a class of Year Seven students for a school year. She worked with the students using process drama from 2-5 hours per week. All sessions were recorded and transcribed as part of the reflective practice research. They were then examined to study how the teacher might use reflection-in-action. The data is written as a series of vignettes. The vignettes are used to illustrate reflection-in-action and as a basis for discussion and analysis. In the thesis the data from five of these sessions is presented as vignettes-these vignettes illustrating the teacher's reflection-in-action process. The analysis focuses on the reflection-in-action for the teacher. The vignettes and accompanying analysis for the basis for an illustrative model of the scope of the teacher' reflection-in-action as she works using process drama. The study addresses the following questions: · How might reflective practice inform my teaching? · How can I as a researcher describe and document my reflection-in-action when working as a teacher in process drama? · What is the scope of my reflection-in-action when working as the teacher in process drama? · How might an increased understanding of reflection-in-action be useful to teachers of process drama? These questions are considered in light of the analysis and literature review. The study concludes that reflective practice is valuable to enable teachers to develop their practice. It recommends that this type of research is beneficial to both develop models of practice and to improve the practice of individual practitioners.
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Khorll, Angela E. "Creating Dramatic Scene Work for Literature in a Secondary Language Arts Classroom." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/KhorllAE2008.pdf.
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Hardin, Les. "High octane Bible study a curriculum for teaching the independent study of the Scriptures /." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
Full textBooks on the topic "MOVEMENT – Drama – Study and teaching"
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Brady, Martha. Artstarts: Drama, music, movement, puppetry, and storytelling activities. Englewood, Colo: Teacher Ideas Press, 1994.
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Alison, Lee. A handbook of creative dance and drama. Melbourne: Longman Cheshire, 1985.
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A road map to education: The CRE-ACT way. Lanham, Md: University Press of America, 2009.
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Most dangerous women: Bringing history to life through readers' theater. Portsmouth, NH: Heinemann, 2006.
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Weikart, Phyllis S. Teaching movement & dance: A sequential approach to rhythmic movement. 5th ed. Ypsilanti, Mich: High/Scope Press, 2003.
Find full textBook chapters on the topic "MOVEMENT – Drama – Study and teaching"
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Boyarsky, Terry L. "Using Music and Movement to Develop Character and Illustrate Conflict Resolution." In Teaching Drama in the Classroom, 63–65. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-537-6_14.
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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.
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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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Morley, Dawn A., Tracey Gleeson, Kerstin Mey, Anne Warren-Perkinson, Tracey Bourne, Amy E. King, Linda Cooper, and Duncan Reavey. "Working and Learning Through the Local Community: Four Case Studies from Higher Education That Promote Civic Engagement." In Applied Pedagogies for Higher Education, 91–106. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46951-1_5.
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Abstract This chapter acts as a companion to Chapter 10.1007/978-3-030-46951-1_4 which discusses the rise of the civic engagement movement in higher education and the mutual benefits of connecting universities with their local communities. The case studies, taken from three universities in the UK and Ireland, illuminate different aspects of civic engagement with international students, through sport and health initiatives and as an extension of a teaching degree. Each case study demonstrates best practice recognised by their sustainability, growing reputation and ongoing positive impact on students’ alternative real world learning experiences.
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"Programmes of Study from Drama in Schools(Arts Council, 1992)." In Drama in Primary English Teaching, 108–12. Routledge, 2013. http://dx.doi.org/10.4324/9780203059050-18.
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Ham, Debra Newman. "“Teaching Them to Observe All Things”." In New Directions in the Study of African American Recolonization. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054247.003.0005.
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This chapter examines the role of African American women in the African recolonization movement. Newman-Ham points out that more women than men sought passage to Liberia and that, once they arrived in the colony, they contributed immensely to the growth and development of Liberia, especially in matters of education and religion. She maintains that these women, from divergent cultures and backgrounds, interacted with and supported each other, becoming distinctly Liberian women.
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Bennett, Peggy D. "Teacher as entertainer." In Teaching with Vitality. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190673987.003.0062.
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Some educators become troubled when they watch award ceremonies for teachers and news segments about schools. Very often in those settings, videos show teachers engaged in dramatic, highly animated activity. Nearly all have bold personalities, and students’ enthusiasm can verge on frenetic. Why might educators be troubled about these images of education? Because the implicit message seems to be that full- throttle dramatic behavior equates with teaching. That groups jumping and shouting equates with learning. Animation can be delivered on a sliding scale that we turn up or turn down, based on students’ learning needs and desires. Varying intensities of verbal and nonverbal communication are important for all teachers to master. Vocal expression and volume, posture, eye contact and expression, gestures, movement, and proximity— all are behaviors that contribute to our animation and teaching personae. If we generate all the energy and excitement in the room, we may be missing out on helping all our students learn. If we treat teaching as entertainment, as our performance of the lesson, we may be missing out on learning how our students learn. Variation in intensities and types of animation is pedagogically sound and educationally warranted. Quiet and calm may need infusions of bold and invigorated. Boisterous and loud may need times of peaceful and hushed . . . all for the benefit of student learning. A self- check may help us reflect on teaching tendencies and ponder the point at which our entertainer personalities may be subduing students’ learning. • Are we the primary generator of ideas during our classes? • Do we rely on quips, jokes, and teasing to engage students? • Does our level of animation and drama drive the class and the lesson? • Does the proportion of our teacher- talk greatly outweigh student- talk? • Do we value quiet, hesitant student contributions as much as eager, enthusiastic ones? It is every teacher’s challenge to notice and adapt for the benefit of students. Whether our comfort lies in being “a sage on the stage” or “a guide at the side,” we know that we likely need to do both for the benefit of students’ learning.
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Bui, Khanh Nguyen, and Ruth Harman. "Teaching Mathematics to English Learners." In Handbook of Research on Assessment Practices and Pedagogical Models for Immigrant Students, 18–40. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9348-5.ch002.
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Recently, teachers in the United States are encountering an influx of multilingual immigrant students. The linguistic diversity can be challenging for teachers who need to think about how to foster language and disciplinary knowledge awareness in meaningful ways. Multimodal instruction (i.e., use of gesture, drawing, and movement) can serve to support conceptual understanding of emergent bilingual students in disciplinary areas such as mathematics or science. The purpose of this chapter is to investigate the interplay between gestures and mathematical concepts. This study takes place in a ninth grade ESOL Coordinate Algebra Classroom. Using systemic functional multimodal discourse analysis, the researchers analyze the teacher's gestures through a corpus of three video recorded lessons. The results show that the teacher's gestures endowed with meanings and mathematical concepts can enhance students' understandings. These findings can contribute to recent research on multimodal pedagogic practices among teachers with multilingual and multicultural students.
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Kourtessis, Thomas, Andreas G. Avgerinos, Haralambos Tsiantis, Maria Liberi, and Emmanouil Goufas. "Cloud-Based Personalized Movement Student Learning." In Handbook of Research on Educational Design and Cloud Computing in Modern Classroom Settings, 395–409. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3053-4.ch019.
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This chapter presents a case study related to the development of an in-school framework that is concerned with the identification, assessment and interventional management of children with developmental coordination disorder and motor learning disabilities. The aim was to use reliable and tested procedures of identification and assessment as well as to adopt teaching methodologies that discover, reveal and use the individual characteristics of each child to reduce the limitations and to make in-school movement situations accessible to all students. The initial goal was not necessarily the immediate improvement of motor dexterity of the child, but the improvement of the psychological and socio-affective.
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Yonemoto, Kazuhiro, Asami Tsuda, and Hisako Hayashi. "Implementing a Flipped Classroom in Teaching Second Language Pronunciation." In Preparing Foreign Language Teachers for Next-Generation Education, 114–29. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0483-2.ch007.
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While the philosophy of flipped classroom has recently been drawing much attention of second language teachers, integrating technology into pedagogy is often an issue. This is also the case in pronunciation teaching. Second language pronunciation teaching has been largely dependent on teachers' intuition and beliefs, realized by repetition. Although recent technology developments in the field of linguistics, namely ultrasound imaging, enable visualization of movement and motion inside the mouth, it has not yet been widely used in second language education. In this chapter, taking a self-learning website for Japanese language pronunciation, the authors explore what makes teachers stay away from technology integration into language learning and how this barrier can be overcome to implement a flipped classroom. Specifically, the authors address the importance of taking initiative in planning how technology can be integrated into pedagogy while closely collaborating with and involving other fields of study, like linguistics, as well as information technology.
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Ahmed, Farhana. "Investigating Learner Autonomy and 21st Century Skills in Blended Tech-Enhanced Language Learning." In New Technological Applications for Foreign and Second Language Learning and Teaching, 113–34. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2591-3.ch006.
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This chapter reports on a study that examines learners' beliefs towards technology use with specific focus on the development of learner autonomy in a blended context within a post-secondary English for academic purposes (EAP) program. The growth of post-secondary EAP programs along with the researchers' awareness and interest in leveraging technological tools in support of student-centered learning motivated this research. Findings reveal students' overall positive attitude towards technology use and adoption of some 21st century skills in learning English. When innovative pedagogical methods are supported by intervention in learning, a heightened critical awareness and movement towards learner autonomy was observed among students through fostering of some 21st century competencies. The chapter concludes with recommendations for teacher education in tech-enhanced pedagogy, teacher-intervention in educating students about the rationale for technology use, leveraging students' digital resources and ongoing critical and reflective teaching practices.
Conference papers on the topic "MOVEMENT – Drama – Study and teaching"
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Zhu, Zhi. "Study on Training Methods of Intercultural Communication Abilities in Drama Education of College English Teaching." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.189.
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Balan, Valeria. "STUDY ON THE MEANS USED IN TEACHING CHILDREN WITH DOWN SYNDROME, THE CROWL FEET MOVEMENT." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b12/s3.121.
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Sluijs, Jasper P., Herman Kasper Gilissen, and Karin Van Look. "Applying Physical Education Methods to Skills Teaching of Law Students." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.13047.
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We study to what extent the “constraints-led approach” (CLA) in physical education can also be applied to skills teaching for law students. In the CLA athletes are challenged to finding their own movement solutions in a dynamic setting rather than responding to verbal cues in a fixed environment. Similarly, we experimented with the implicit acquisition of policy analysis skills in law students in preparation for pro bono client work in so-called law clinics. Although the project was cut short due to Covid-19 circumstances, preliminary outcomes suggest students feel better equipped to working with clients. We provisionally conclude that CLA skills teaching has the potential to improve skill acquisition in clinical legal education.
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Makuteniene, Daiva, Olga Ovtšarenko, Elena Safiulina, and Edgaras Timinskas. "Education technology based on a 3D model of house VirTec." In Sixth International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.11104.
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In modern teaching, it is necessary to use modern technological achievements to involve students in the learning process, to create and constantly develop interesting and relevant teaching materials. Educational materials in a playful form have the appropriate qualities. Game effects are associated with user participation in the interactive process and provide a high interest in the information offered. Getting feedback in the gameplay is not only an indicator of the success of the educational process but also a guide in the step-by-step movement of the student in the learning process. Simulators of different objects are effective educational material that is available to students, contains the necessary information and functions, is simple and intuitive to use. This article provides an overview of different simulators with the study of the impact of their use on the effectiveness of the educational process. One of the simulators is created in the teamwork of the project “Development of a virtual learning environment in technical higher education” (VirTec, 2018), funded by the Erasmus program for 24 months, which includes organizations from four countries: Estonia, Lithuania, Poland, Turkey, and Croatia.
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Reit, Xenia-Rosemarie. "Enhancing understanding of analytic geometry by augmented reality." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9561.
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An augmented reality (AR) system is a technology which combines computer-generated representations or information and reality in real-time. Instead of substituting the real situation, as it is possible with dynamic geometry systems (DGS), AR adds virtual objects or information to reality to make the situation experiential. The project MalAR aims at investigating the impact of an augmented reality (AR) learning environment in the subject area of analytic geometry. The focus of the AR learning environment is an AR-App, which supports learners understanding of mathematics situations usually given through textbook tasks. Mathematics situations are implemented in an AR-App such that the situation gets visually and enactively explorable by changing perspectives using the own body movement. The added value of integrating AR in mathematics classes is worked out and based on different learning theories like embodied cognition. The AR-App and first results of the pilot study will be demonstrated and presented. With the findings and results of the study evidence-based didactical insights in the teaching and learning with AR in mathematics instruction may be identified and needs for future AR-supported learning scenarios can be revealed.
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Han, Yixiang, Conrad S. Tucker, Timothy W. Simpson, and Erik Davidson. "A Data Mining Trajectory Clustering Methodology for Modeling Indoor Design Space Utilization." In ASME 2013 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/detc2013-12690.
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Traditionally, understanding indoor space utilization in a typical design setting has been based on observation methodologies, where researchers document team interactions, space utilization and design activities using qualitative observation techniques. The authors of this paper propose a data mining driven methodology aimed at modeling the utilization of indoor design spaces using trajectory pattern data. Using indoor Radio-frequency identification (RFID) technology, researchers are able to collect trajectory data which can then be used to quantify the distribution of space usage patterns over time and predict future regions of interest. The proposed methodology consists of two phases: i) trajectory partitioning and ii) line segment clustering. For the first phase, trajectories are partitioned into line segments, based on unique user characteristics. In the second phase, a data mining clustering algorithm is employed to group line segments into different clusters based on a distance function. Since individual trajectories may exhibit similar movement patterns, the proposed methodology can help designers better understand how design spaces are utilized and how team dynamics evolve over time, depending on the specific design task being executed. A 3,500 square foot design space was used for the semester long study that included design teams supervised by teaching assistants. The results provide insight into the underutilization of certain regions of the design space and proposes directions towards an optimal design space methodology.
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Wizel, Maya. "BUILDING BRIDGES: BRINGING NONFORMAL PEDAGOGIES INTO THE CLASSROOM." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end021.
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Education systems worldwide have long sought ways to engage and support learners to become self-directed and develop 21st-century skills. This became even more relevant—and crucial—with the COVID-19 pandemic restrictions. Solutions to help formal education systems establish innovative pedagogies and methods to organize learning can be found in places as unpredictable as nonformal education settings. In this study, I interviewed educators with backgrounds in nonformal education to better understand that system’s qualities and how they can be transferred into formal settings. Findings regarding practices include teachers prioritizing instructional choice (voluntarism); addressing social-emotional aspects through diverse teaching methods that emphasize students’ active learning and real-life experiences (classroom as a social group); and excelling in dialogue and teamwork to sustain solid interpersonal relationships with students and colleagues (relationships and dialogue). Educators working in nonformal settings often know they have a unique collection of difficult-to-articulate abilities. This research presents the voices of youth movement leaders in Israel, who nonformally have been doing what formal educators worldwide are trying to figure out; defines some of their skills; and explores how those skills can be applied in formal settings. This study has been published as a book in Hebrew in 2020. This paper embodies a few aspects of the study and will benefit formal education leaders and practitioners who seek to incorporate methods from nonformal pedagogies.
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Alves, Anabela C., Franz-Josef Kahlen, Shannon Flumerfelt, and Anna Bella Siriban Manalang. "Comparing Engineering Education Systems Among USA, EU, Philippines and South Africa." In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-63254.
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Globalization has permeated our personal and professional lives and careers over the past two decades, to a point where communication, product development, and service delivery now are globally distributed. This means that the globalization of engineering practice is in effect. Large corporations tap into the global market for recruitment of engineers. However, the education of engineers occurs within the context of individual Higher Education Institutions. Engineers are educated with varying pacing and scoping of higher education programming with varying methods and pedagogy of higher education teaching. The expectations for engineering practice normed from the corporate side within the engineering marketplace, therefore, often do not match the widely dispersed educational experiences and outcomes of engineering education delivery. This gap brings challenges for all stakeholders, employers, higher education and the engineering graduate. But particularly, university education systems which traditionally are slow to respond to shifting market trends and demands, are expected to realign and restructure to answer this shortfall. A response to this shortfall has been prepared independently in different regions and countries. This paper discusses the response from Europe, USA, South Africa and Philippines. The European Commission started building a European Higher Education Area (EHEA) with the intention of promoting the mobility and the free movement of students and teachers in European tertiary education. US universities are introducing a design spine and strengthening students’ systems thinking and problem solving competencies. Philippines is trying to be aligned with ABET system from US. South Africa universities are evolving to a solid core undergraduate engineering curriculum with a limited set of electives available to students which include project-based learning. This is intended to address the education-workplace gap as well. This theoretical paper will provide a comparison study of the differences between the Engineering Education in USA, EU, Philippines and South Africa. The authors will compare current trends and initiatives, aimed at improving the readiness and competitiveness of regional engineering graduates in the workplace. Given that several worthwhile initiatives are underway, it is possible that these initiatives will remain as disparate responses to the need for the globalization of engineering education. Lean performance management systems are widely used in engineering practice internationally and represent one possible rallying concept for the globalization of engineering education in order to address the education-workplace gap. Therefore, this paper examines whether the introduction of a Lean Engineering Education philosophy is a worthwhile global curricular innovation for engineering courses.